Band member Alan Wilder is credited with coming up with the name; the performance was the 101st and final performance of the tour (and coincidentally also the number of a famous highway in the area). The film was directed and produced by D. A. Pennebaker.

The band's original concept for the film was going to be about how Depeche Mode "fit into" the 1980s. After discussions with an "experienced director", they came to the conclusion that the (unnamed) choice was going to do something "too glossy" and that they wanted to present something more nuanced and interesting. At this point, they reached out to renowned documentary filmmaker D. A. Pennebaker.[7] He accepted, but discarded their initial concept, feeling that it was "impossible to examine in an entertainingly cinematic fashion".[7]

Ultimately, the film focused on what Depeche Mode considered to be their strongest selling point—their live performance—as well as capturing the spirit of their fan base.[8] Notably, the film prominently features a group of young fans travelling across America as winners of a "be-in-a-Depeche Mode-movie-contest", which culminates at the band's landmark concert at the Rose Bowl stadium in Pasadena.[8]

Much to the chagrin of fans, the film does not depict the full Rose Bowl concert, but instead shows interspersed snippets of the band, the "bus kids" and live performances recorded throughout the tour. The 2003 DVD reissue included more concert footage, but as Pennebaker was "shooting a documentary, not a concert film", a complete record of the Rose Bowl concert does not exist.[9]

Pennebaker used his direct cinema approach, which he described as "letting the camera run as unobtrusively as possible, thereby encouraging events to unfold on their own. [...] You edit more and the film changes every three days, but [the band] were very nice and patient about it."[7]

Pennebaker admitted there was a similarity between Depeche Mode and some of the other artists he'd filmed before (Bob Dylan and David Bowie): "I found the audience very rapt; they were there for that band. Not any band would do. I got the feeling that maybe there was no other band they'd ever go out for again in that assemblage, and it made me take that audience fairly seriously."[7]

Due to the prominence of the "bus kids" in the film, it is widely considered to be the impetus for the "reality" craze that swept MTV in the following years, including The Real World and Road Rules.[7][10][11][12]

In various interviews, DVD commentaries and on their own website, both Pennebaker and collaborator Chris Hegedus have cited 101 as "their favourite" and "the one that was the most fun to make" out of all their films to date.[9][13]

In 2003, Mute Records reissued 101 as a hybrid Super Audio CD (SACD). In essence, the two-disc set contained 101 in three formats—multi-channel SACD, stereo SACD and PCM stereo (CD audio). The multi-channel audio was presented in 5.1 and gave a better representation of the live experience. The SACD was not released in North America.

Due to pressing errors, however, the first run of the set was marred by a mis-encoded multi-channel SACD layer that skipped and was unlistenable on the first disc. The stereo SACD and CD audio layers were unaffected.

As a bonus hidden track, the multi-channel layer also included the full version of "Pimpf".

In 2003, the film was released as a two-disc DVD with the feature film on the first disc, including a new commentary track with Pennebaker, Hegedus and the band. The second disc contained all-new interviews with Dave Gahan, Martin Gore, and Andy Fletcher, with each interviewed about the solo projects they were working on at the time: Paper Monsters (Gahan), Counterfeit² (Gore) and Client (Fletcher). All three interviews were conducted separately by Pennebaker and Hegedus. Interviews with Daniel Miller, band manager Jonathan Kessler, and three of the "bus kids" were also included. Special bonus features included isolated video footage of the Rose Bowl concert, including previously unreleased footage.

Alan Wilder left the band in 1995, and declined to be involved with the re-release.

Disc two
All songs are isolated live video footage, uninterrupted by documentary footage. Songs with a * are exclusive to the DVD and were not in the VHS film. Footage of "Sacred", "Something To Do", "Things You Said", "Shake The Disease", "Nothing", "People Are People", "A Question of Time" and "A Question of Lust" are lost and were not able to be recovered for the DVD.

1.
Album
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Album, is a collection of audio recordings issued as a single item on CD, record, audio tape, or another medium. Albums of recorded music were developed in the early 20th century, first as books of individual 78rpm records, vinyl LPs are still issued, though in the 21st century album sales have mostly focused on compact disc and MP3 formats. The audio cassette was a format used from the late 1970s through to the 1990s alongside vinyl, an album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places. Recording may take a few hours to years to complete, usually in several takes with different parts recorded separately. Recordings that are done in one take without overdubbing are termed live, the majority of studio recordings contain an abundance of editing, sound effects, voice adjustments, etc. With modern recording technology, musicians can be recorded in separate rooms or at times while listening to the other parts using headphones. Album covers and liner notes are used, and sometimes additional information is provided, such as analysis of the recording, historically, the term album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early nineteenth century. Later, collections of related 78rpm records were bundled in book-like albums, the LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. It was adopted by the industry as a standard format for the album. Apart from relatively minor refinements and the important later addition of stereophonic sound capability, the term album had been carried forward from the early nineteenth century when it had been used for collections of short pieces of music. Later, collections of related 78rpm records were bundled in book-like albums, as part of a trend of shifting sales in the music industry, some commenters have declared that the early 21st century experienced the death of the album. Sometimes shorter albums are referred to as mini-albums or EPs, Albums such as Tubular Bells, Amarok, Hergest Ridge by Mike Oldfield, and Yess Close to the Edge, include fewer than four tracks. There are no rules against artists such as Pinhead Gunpowder referring to their own releases under thirty minutes as albums. These are known as box sets, material is stored on an album in sections termed tracks, normally 11 or 12 tracks. A music track is a song or instrumental recording. The term is associated with popular music where separate tracks are known as album tracks. When vinyl records were the medium for audio recordings a track could be identified visually from the grooves

2.
Depeche Mode
–
Depeche Mode /dᵻˌpɛʃˈmoʊd/ are an English electronic band that formed in 1980 in Basildon, Essex. The group consists of founders Dave Gahan, Martin Gore, Depeche Mode released their debut album Speak & Spell in 1981, bringing the band onto the British new wave scene. Original band member Vince Clarke, left the band after the release of the album, leaving the band as a trio to record A Broken Frame, released the following year. Gore took over the songwriting duties and, later in 1982, Alan Wilder officially joined the band to fill Clarkes spot. Depeche Mode have been a trio again since 1995, when Wilder left, the bands last albums of the 1980s, Black Celebration and Music for the Masses, established them as a dominant force on the mainstream electronic music scene. A highlight of this era was the concert at the Pasadena Rose Bowl. In the new decade, Depeche Mode released Violator, a mainstream success, now a trio once again, the band released Ultra in 1997, recorded at the height of Gahans near-fatal drug abuse, Gores alcoholism and seizures, and Fletchers depression. Depeche Mode have had 50 songs in the UK Singles Chart and thirteen top 10 albums in the UK chart, Q included the band in the list of the 50 Bands That Changed the World. Depeche Mode also rank number 98 on VH1s 100 Greatest Artists of All Time, Depeche Modes origins date to 1977, when schoolmates Vince Clarke and Andy Fletcher formed a Cure-influenced band called No Romance In China, with Clarke on vocals and guitar and Fletcher on bass. Fletcher would later recall, Why am I in the band and it was accidental right from the beginning. I was actually forced to be in the band, I played the guitar and I had a bass, it was a question of them roping me in. In 1979, Clarke played guitar in an Ultravox rip-off band, in 1978–79, Martin Gore played guitar in an acoustic duo, Norman and the Worms, with school friend Phil Burdett on vocals. In 1979, Marlow, Gore and friend Paul Redmond formed a band called the French Look, with Marlow on vocals/keyboards, Gore on guitar and Redmond on keyboards. In March 1980, Clarke, Gore and Fletcher formed a band called Composition of Sound, with Clarke on vocals/guitar, Gore on keyboards and Fletcher on bass. Soon after the formation of Composition of Sound, Clarke heard Wirral band Orchestral Manoeuvres in the Dark, along with OMD, other early influences included the Human League, Daniel Miller and Fad Gadget. Clarke and Fletcher switched to synthesisers, working odd jobs in order to buy or borrow the instruments from friends. Dave Gahan joined the band in 1980 after Clarke heard him perform at a scout hut jam session, singing a rendition of David Bowies Heroes. When explaining the choice for the new name taken from a French fashion magazine, Dépêche mode, Gore said, I like the sound of that

3.
Rose Bowl (stadium)
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The Rose Bowl is an outdoor athletic stadium in Pasadena, California, just outside Los Angeles. At a modern capacity of a configuration at 88,500 the Rose Bowl is the 17th-largest stadium in the world, the 11th-largest stadium in the United States. One of the most famous stadiums in sporting history, the Rose Bowl is best known as an American football venue, since 1982, the stadium has also served as the home stadium of the UCLA Bruins football team. The stadium has hosted five Super Bowl games, second most of any venue. UCLA and the Pasadena Tournament of Roses also have one member on the company board, the game now known as the Rose Bowl Game was played at Tournament Park until 1922. The Pasadena Tournament of Roses Association, the organizer, realized the temporary stands were inadequate for a crowd of more than 40,000. The stadium was designed by architect Myron Hunt in 1921 and his design was influenced by the Yale Bowl in New Haven, Connecticut, which was built in 1913 and opened in 1914. The Arroyo Seco was selected as the location for the stadium, the Rose Bowl was under construction from 1921 to 1922. The nearby Los Angeles Memorial Coliseum also was under construction during this time, originally built as a horseshoe, the stadium was expanded several times. The southern stands were completed in 1928, making the stadium a complete bowl, the stadium is extremely hard to get to due to the traffic caused by single-lane residential street access. The stadium has no dedicated parking lot for visitors and parking issues have routinely caused visitors to two to three hours completing the last mile to the stadium on game days. In 2016, Rose Bowl contracted ParkJockey to streamline parking in, there are also shuttles to help visitors get to the stadium and mobile lights powered by generators to provide visibility for people walking on the golf course at night. The first game was a regular season contest on October 28,1922 when Cal defeated USC 12–0 and this was the only loss for USC and California finished the season undefeated. California declined the invitation to the 1923 Rose Bowl game and USC went in their place, the stadium was dedicated officially on January 1,1923 when USC defeated Penn State 14–3. The stadium seating has been reconfigured several times since its construction in 1922, the South end was filled in to complete the bowl and more seats have been added. The original wooden benches were replaced by aluminum benches in 1969, All new grandstand and loge seats had been installed since 1971. New red seat backs had been added on 22,000 seats prior to the 1980 Rose Bowl, a Rose Bowl improvement was conducted because of UCLAs 1982 move and the 1984 Summer Olympics. This resulted in new seat backs for 50,000 seats, for many years, the Rose Bowl had the largest football stadium capacity in the United States, eventually being surpassed by Michigan Stadium

4.
Pasadena, California
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Pasadena /ˌpæsəˈdiːnə/ is a city in Los Angeles County, California, United States. As of 2013, the population of Pasadena was 139,731. Pasadena is the ninth-largest city in Los Angeles County, Pasadena was incorporated on June 19,1886, becoming one of the first cities be incorporated in what is now Los Angeles County, the only one being incorporated earlier being its namesake. It is one of the cultural centers of the San Gabriel Valley. The city is known for hosting the annual Rose Bowl football game, the original inhabitants of Pasadena and surrounding areas were members of the Native American Hahamog-na tribe, a branch of the Tongva Nation. They spoke the Tongva language and had lived in the Los Angeles Basin for thousands of years, Tongva dwellings lined the Arroyo Seco in present day Pasadena and south to where it joins the Los Angeles River and along other natural waterways in the city. The native people lived in thatched, dome-shape lodges and they lived on a diet of acorn meal, seeds and herbs, venison, and other small animals. They traded for fish with the coastal Tongva. They made cooking vessels from steatite soapstone from Catalina Island, the trail has been in continuous use for thousands of years. An arm of the trail is still in use in what is now known as Salvia Canyon. When the Spanish occupied the Los Angeles Basin they built the San Gabriel Mission and renamed the local Tongva people Gabrielino Indians, today, several bands of Tongva people live in the Los Angeles area. The Rancho comprised the lands of todays communities of Pasadena, Altadena, before the annexation of California in 1848, the last of the Mexican owners was Manuel Garfias who retained title to the property after statehood in 1850. Garfias sold sections of the property to the first Anglo settlers to come into the area, Dr. Benjamin Eaton, the father of Fred Eaton, much of the property was purchased by Benjamin Wilson, who established his Lake Vineyard property in the vicinity. Wilson, known as Don Benito to the local Indians, also owned the Rancho Jurupa and was mayor of Los Angeles and he was the grandfather of WWII General George S. Patton, Jr. and the namesake of Mount Wilson. Berry was an asthmatic and claimed that he had his best three nights sleep at Rancho San Pascual, to keep the find a secret, Berry code-named the area Muscat after the grape that Wilson grew. To raise funds to bring the company of people to San Pascual, Berry formed the Southern California Orange and Citrus Growers Association and sold stock in it. The newcomers were able to purchase a portion of the property along the Arroyo Seco and on January 31,1874. As a gesture of good will, Wilson added 2,000 acres of then-useless highland property, at the time, the Indiana Colony was a narrow strip of land between the Arroyo Seco and Fair Oaks Avenue

5.
Mute Records
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Mute Records is a British record label owned and founded in 1978 by Daniel Miller. It featured several prominent musical acts on its roster such as Depeche Mode, Erasure, Fad Gadget, Goldfrapp, Grinderman, Inspiral Carpets, Moby, New Order, Nitzer Ebb, Wire, Yeasayer, and Yazoo. During 1978, Daniel Miller began recording music using synthesisers under the name The Normal and he recorded the tracks T. V. O. D. and Warm Leatherette, and distributed them through Rough Trade Shops under the label name Mute Records. The label was formed initially just to release the one single, T. V. O. D. /Warm Leatherette became a cult hit ensuring the future of the label. Warm Leatherette was later covered by Grace Jones and Chicks on Speed, after meeting Robert Rental, Miller began recording and playing live as Robert Rental & The Normal. In 1979 the band went on tour supporting the punk band Stiff Little Fingers, in 1980, Miller released the single, Kebab-Träume, by the German band Deutsch Amerikanische Freundschaft, who had recently moved to London. The bands 1980 album, Die Kleinen und die Bösen, was the first album released by the new label, the album had the catalogue prefix STUMM, a play on the record labels name, meaning mute in German. This prefix would continue to be used through most of the labels album catalogue, also in 1980, Miller recorded and released the cover single, Memphis Tennessee, under the name Silicon Teens. The band was Miller’s realisation of a dream Mute Records group, in mid-1980, Mute Records released the Silicon Teens album, titled Music For Parties. Around this time the artist Fad Gadget had begun recording new demos and this was released as a single in 1980, followed by the next single Rickys Hand and the album Fireside Favourites recorded at Blackwing Studios. September 1980 saw the release of the double-holed, multi-speed 7 single by Non & Smegma, Boyd Rice went on to release several more recordings with Mute Records. After touring with Daniel Miller as Robert Rental & The Normal, Robert Rental released his only Mute Records single, Double Heart, a rare, remaining trace of this late electronic music pioneer. Miller approached Depeche Mode in 1980, after seeing them perform in London, wanting them to record a single for his label and their loyalty to Mute was reciprocated by the label’s rapid expansion to cope with their success. In defiance of the recording labels predictions of failure, Depeche Mode became a successful charting band worldwide. The bands consistency was unbroken even by the departure of principal songwriter Vince Clarke, Martin Gore took over the main songwriting role, opening the band up to different influences and sustaining their creativity as a band. Mute continued to other experimental artists, such as NON, releasing an album of Boyd Rices pre-NON recordings. 1982 began with the release of the 12-inch single, Rise, by Boyd Rice, Fad Gadget released his third album for the label, titled Under the Flag, influenced by the current Falklands War and the feeling of being British in the most unseemly of times. The album spawned the singles For Whom the Bells Toll and Life on the Line, Mute Records big commercial success of 1982 was the band Yazoo, the duo of Vince Clarke and Alison Moyet

6.
Record producer
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A record producer or music producer oversees and manages the sound recording and production of a band or performers music, which may range from recording one song to recording a lengthy concept album. A producer has many roles during the recording process, the roles of a producer vary. The producer may perform these roles himself, or help select the engineer, the producer may also pay session musicians and engineers and ensure that the entire project is completed within the record companies budget. A record producer or music producer has a broad role in overseeing and managing the recording. Producers also often take on an entrepreneurial role, with responsibility for the budget, schedules, contracts. In the 2010s, the industry has two kinds of producers with different roles, executive producer and music producer. Executive producers oversee project finances while music producers oversee the process of recording songs or albums. In most cases the producer is also a competent arranger, composer. The producer will also liaise with the engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as the person who creatively guides or directs the process of making a record, indeed, in Bollywood music, the designation actually is music director. The music producers job is to create, shape, and mold a piece of music, at the beginning of record industry, producer role was technically limited to record, in one shot, artists performing live. The role of producers changed progressively over the 1950s and 1960s due to technological developments, the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously, all of these singers and musicians had to be assembled in a large studio and the performance had to be recorded. As well, for a song that used 20 instruments, it was no longer necessary to get all the players in the studio at the same time. Examples include the rock sound effects of the 1960s, e. g. playing back the sound of recorded instruments backwards or clanging the tape to produce unique sound effects. These new instruments were electric or electronic, and thus they used instrument amplifiers, new technologies like multitracking changed the goal of recording, A producer could blend together multiple takes and edit together different sections to create the desired sound. For example, in jazz fusion Bandleader-composer Miles Davis album Bitches Brew, producers like Phil Spector and George Martin were soon creating recordings that were, in practical terms, almost impossible to realise in live performance. Producers became creative figures in the studio, other examples of such engineers includes Joe Meek, Teo Macero, Brian Wilson, and Biddu

7.
Music for the Masses
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Music for the Masses is the sixth studio album by the English electronic music band Depeche Mode. It was released on 28 September 1987 by Mute Records, and was supported by the Music for the Masses Tour, with Millers approval, the band co-produced the album with David Bascombe, who had previously worked as a recording engineer with Tears For Fears and Peter Gabriel. Band members Andy Fletcher and Martin Gore both explained the title was conceived as a joke. Everyone is telling us we should make more music, so thats the reason we chose that title. According to Gore, the title was a joke on the uncommerciality of and it was anything but music for the masses. The megaphone on the cover was used during the breadth of the albums release, at press events, on the covers of the albums singles. Alan Wilder gave credit to Martyn Atkins, who had been a longtime Depeche Mode collaborator, for the use of the megaphone. Up with this idea of a speaker, but, to give the kind of ironic element which the title has and it was, in fact, the opposite. So you end up with this kind of thing where you get these speakers or megaphones in the middle of a setting that doesnt suit it at all. The deserted natural setting in question being Peak District, an early alternative cover was rejected for the album. The rejected cover was designed by Martyn Atkins and a test pressing copy was auctioned off by Alan Wilder in 2011. The re-release preserves the album as it was originally intended, thus, the four bonus tracks do not appear on the SACD, but appear on the DVD. The DVD also features all B-sides from the Music for the Masses era, but unlike the album and the bonus tracks, the documentary features new facts on the album, and also an extensive look at the film 101. The re-release was released on 3 April 2006 in Europe, the US version was delayed to 2 June 2006 and is only available on a CD + DVD format, with no SACD. The DVD on all the versions are region independent however, so one can import the SACD version without worrying about the DVD being incompatible. The remastered album was released on deluxe vinyl 2 March 2007 in Germany and 5 March 2007 internationally, according to Slant Magazines Sal Cinquemani, Music for the Masses showed the gloomier side of the post-punk synthpop scene during the 1980s and was a success with both critics and consumers. This was the point at which Depeche Mode were first taken seriously, alternative Press called the record articulate, intricate electronic music that lacked the tinny feel of DMs early synth pop. Music for the Masses was listed by Slant Magazine at number 75 on their list of Best Albums of the 1980s, all songs written by Martin Gore

8.
Violator (album)
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Violator is the seventh studio album by English electronic music band Depeche Mode, released on 19 March 1990 by Mute Records. Preceded by the hit singles Personal Jesus and Enjoy the Silence, the album yielded two further hit singles, Policy of Truth and World in My Eyes. Violator is the bands first album to reach the top 10 on the Billboard 200 and it was supported by the World Violation Tour. Compared to previous efforts, the decided to try a new approach to recording. Alan Wilder said, Usually we begin the making of a record by having extensive pre-production meetings where we decide what the record will actually sound like and this time we decided to keep all pre-production work to a minimum. We were beginning to have a problem with boredom in that we felt wed reached a level of achievement in doing things a certain way. Martin Gore elaborated, Over the last five years I think wed perfected a formula, my demos and we decided that our first record of the 90s ought to be different. With co-producer Mark Flood Ellis, Wilder began a working relationship, with Flood able to provide the technical know-how and Wilder working on the arrangements. Thats how we made the work at that time, clarified Wilder, by accepting that we all had different roles. So we ended up with this agreement in the band. Then Fletch and Mart would go away, and theyd come back after wed worked on it for a while to give an opinion, there was also a notable change in Gores demos. After the rigid, limiting effects of almost-finished demos for Music for the Masses, Gore, heeding to Wilders request, several of the basic recordings consisted of vocals over simple guitar or organ part, with the odd percussion loop but less sequenced material. The sparse demos allowed the band to take liberties with the songs. For instance, Enjoy the Silence started out as a slow ballad, the band convened to work on the record with Flood at Mutes WorldWide programming room in London for three weeks after which they flew to Milan for the new sessions at Logic studios. According to Flood, they didnt do substantial amount of work in Milan, except for the song Personal Jesus, everybody was feeling each other out, because they wanted to try working in a different way. The idea was to hard and party hard and we all enjoyed ourselves to the full. After Milan the band relocated to Puk studios in northern Denmark, Martin called the track World in My Eyes a very positive song. Its saying that love and sex and pleasure are positive things, the song Blue Dress, which Gore called pervy, is simply about watching a girl dress and realising that this is what makes the world turn

9.
Single (music)
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In music, a single or record single is a type of release, typically a song recording of fewer tracks than an LP record, an album or an EP record. This can be released for sale to the public in a variety of different formats, in most cases, a single is a song that is released separately from an album, although it usually also appears on an album. Typically, these are the songs from albums that are released separately for promotional uses such as digital download or commercial radio airplay and are expected to be the most popular, in other cases a recording released as a single may not appear on an album. As digital downloading and audio streaming have become prevalent, it is often possible for every track on an album to also be available separately. Nevertheless, the concept of a single for an album has been retained as an identification of a heavily promoted or more popular song within an album collection. Despite being referred to as a single, singles can include up to as many as three tracks on them. The biggest digital music distributor, iTunes, accepts as many as three tracks less than ten minutes each as a single, as well as popular music player Spotify also following in this trend. Any more than three tracks on a release or longer than thirty minutes in total running time is either an Extended Play or if over six tracks long. The basic specifications of the single were made in the late 19th century. Gramophone discs were manufactured with a range of speeds and in several sizes. By about 1910, however, the 10-inch,78 rpm shellac disc had become the most commonly used format, the inherent technical limitations of the gramophone disc defined the standard format for commercial recordings in the early 20th century.26 rpm. With these factors applied to the 10-inch format, songwriters and performers increasingly tailored their output to fit the new medium, the breakthrough came with Bob Dylans Like a Rolling Stone. Singles have been issued in various formats, including 7-inch, 10-inch, other, less common, formats include singles on digital compact cassette, DVD, and LD, as well as many non-standard sizes of vinyl disc. Some artist release singles on records, a more common in musical subcultures. The most common form of the single is the 45 or 7-inch. The names are derived from its speed,45 rpm. The 7-inch 45 rpm record was released 31 March 1949 by RCA Victor as a smaller, more durable, the first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s

10.
Everything Counts
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Everything Counts is a 1983 single by the electronic band Depeche Mode from the album Construction Time Again. The single was re-released on 13 February 1989 to support the live album 101, the single introduced a transition in lyrical content for the group. Everything Counts specifically addresses the issue of corporate greed and corruption during the 1980s Britain, perhaps surprisingly, the single was released at a time when the band itself was not under a formal contract with Mute Records. In addition to found sounds used as samples, the single samples a variety of musical instruments, such as the xylophone. It was also the first song in the catalogue which includes both of the bands singers prominently. Lead singer Dave Gahan sings the vocals on the verses. When the song has performed live, the chorus has been sung by all of the bands musicians except Gahan. The song would quickly catch on as a fan favourite at the bands concerts, and was used as the opening song for the Construction Time Again tour. During the Music for the Masses Tour, the band used Everything Counts as the encore and in 1989. All live tracks from the release were recorded on 18 June 1988 at the Pasadena Rose Bowl during the performance of the aforementioned Music for the Masses Tour. This version of the song is famous for the recording of the crowd continuing to sing the chorus long after the music had stopped and it also appears in Devotional as the closer. It was played during the first two legs of Touring the Angel in the first encore, and also appears on the Touring the Angel, Everything Counts was also remixed and re-released in 2006. The Oliver Huntemann & Stephan Bodzin Dub is featured on the limited release of the single Martyr. An unreleased Oliver Huntemann & Stephan Bodzin remix contains more vocal parts from the original version, the music video for Everything Counts was directed by Clive Richardson in West Berlin. The band returned to Richardson after not being satisfied with the work of Julien Temple for the A Broken Frame singles, Richardson had previously directed the video for Just Cant Get Enough two years earlier. According to Alan Wilder, It was felt that after the Julien Temple years, we needed to harden up not only our sound, Clive had lots of new ideas which didnt involve stupid storyboards where we were required to act. In the original video, the xylophone, the melodica, and the shawm are played by Alan Wilder, Martin Gore. The shawm, however, is produced by a synthesizer on the studio recording, in this video, frontman Dave Gahan for the first time appeared blonde-haired, losing his natural black colour of hair

11.
Music video
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A music video is a short film integrating a song and imagery, produced for promotional or artistic purposes. Modern music videos are made and used as a marketing device intended to promote the sale of music recordings. There are also cases where songs are used in tie in marketing campaigns that allow them to more than just a song. Tie ins and merchandising could be used in toys or marketing campaigns for food, although the origins of music videos date back to musical short films that first appeared in the 1920s, they came into prominence in the 1980s when MTV based their format around the medium. Prior to the 1980s, these works were described by terms including illustrated song, filmed insert, promotional film, promotional clip, promotional video, song video. Music videos use a range of styles of contemporary videomaking techniques, including animation, live action filming, documentaries. Some music videos blend different styles, such as animation, music, combining these styles and techniques has become more popular because of the variation it presents to the audience. Many music videos interpret images and scenes from the songs lyrics, other music videos may be without a set concept, being merely a filmed version of the songs live performance. Product placement is a technique in music videos, exemplified by the appearance of the Beats Pill in numerous hip hop videos. In 1894, sheet music publishers Edward B, marks and Joe Stern hired electrician George Thomas and various performers to promote sales of their song The Little Lost Child. Using a magic lantern, Thomas projected a series of images on a screen simultaneous to live performances. This would become a form of entertainment known as the illustrated song. In 1926, with the arrival of many musical short films were produced. Vitaphone shorts featured many bands, vocalists and dancers, early 1930s cartoons featured popular musicians performing their hit songs on-camera in live-action segments during the cartoons. The early animated films by Walt Disney, such as the Silly Symphonies shorts and especially Fantasia, the Warner Brothers cartoons, even today billed as Looney Tunes and Merrie Melodies, were initially fashioned around specific songs from upcoming Warner Brothers musical films. Live action musical shorts, featuring such performers as Cab Calloway, were also distributed to theaters. Blues singer Bessie Smith appeared in a short film called St. Louis Blues featuring a dramatized performance of the hit song. Numerous other musicians appeared in short musical subjects during this period, soundies, produced and released from 1940 to 1947, were musical films that often included short dance sequences, similar to later music videos

12.
Film director
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A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision

13.
D. A. Pennebaker
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Donn Alan D. A. Pennebaker is an American documentary filmmaker and one of the pioneers of Direct Cinema. Performing arts and politics are his primary subjects, in 2013, the Academy of Motion Picture Arts and Sciences recognized his body of work with an Academy Honorary Award or lifetime Oscar. Pennebaker has been described as arguably the pre-eminent chronicler of sixties counterculture, Pennebaker was born in Evanston, Illinois, the son of Lucille Levick and John Paul Pennebaker, who was a commercial photographer. Pennebaker served in the Navy and later worked as an engineer, after falling under the influence of experimental filmmaker Francis Thompson, Pennebaker directed his first film, Daybreak Express, in 1953. According to Pennebaker, Ellington responded favourably to the film, in 1959, Pennebaker joined the equipment-sharing Filmakers Co-op and co-founded Drew Associates with Richard Leacock and former LIFE magazine editor and correspondent Robert Drew. A crucial moment in the development of Direct Cinema, the collective produced documentary films for clients like ABC News and their first major film, Primary, documented John F. Kennedy and Hubert Humphreys respective campaigns in the 1960 Wisconsin Democratic Primary election. Drew, Leacock and Pennebaker, as well as photographers Albert Maysles, Terrence McCartney Filgate and it would later be selected as an historic American film for inclusion in the Library of Congress National Film Registry in 1990. Then in 1963, Pennebaker and Leacock left the organization to form their own firm, Leacock-Pennebaker. Pennebaker would direct a number of films over the course of two years. One of them was a recording of jazz vocalist Dave Lambert, as he formed a new quintet with singers such as David Lucas. The documentary got attention in Europe, and a few later, Bob Dylans manager, Albert Grossman. The resulting work, Dont Look Back became a landmark in both film and rock history, evoking the 60s like few other documents, according to film critic Jonathan Rosenbaum, the opening sequence alone became a precursor to modern music videos. It would later be included in the Library of Congress National Film Registry in 1998, Pennebaker would also film Dylans subsequent tour of England in 1966, but while some of this work has been released in different forms, Pennebakers own film of the tour remains unreleased. Nevertheless, the tour itself has one of the most celebrated events in rock history. The same year Dont Look Back was released in theaters, Pennebaker worked with author Norman Mailer on the first of many film collaborations. He was also hired to film the Monterey Pop Festival, which is now regarded as an important event in history on par with 1969s Woodstock Festival. The first of these films, Monterey Pop, was released in 1968 and was ranked at No.42 on Time Out magazines list of the 50 best documentaries of all time. Other performers like Jefferson Airplane and the Who also received exposure from Pennebakers work

14.
Strange Too
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Strange Too - Another Violation by Anton Corbijn is the third music video compilation by Depeche Mode, featuring more videos directed by Anton Corbijn, released in 1990. Unlike the previous video, Strange, all the videos are fully in color, there are six videos, all songs from the album Violator, released in the same year. There is one for each of the four singles, plus two bonus videos, for Halo and Clean, exclusive to Strange Too, as with its predecessor, Corbijn shot all six videos in Super-8. The tallest woman in the Halo video is a young Jenna Elfman

15.
AllMusic
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AllMusic is an online music guide service website. It was launched in 1991 by All Media Guide which later became All Media Network, AllMusic was launched in 1991 by Michael Erlewine of All Media Guide. The aim was to discographic information on every artist whos made a record since Enrico Caruso gave the industry its first big boost and its first reference book was published the following year. When first released onto the Internet, AMG predated the World Wide Web and was first available as a Gopher site, the AMG consumer web properties AllMusic. com, AllMovie. com and AllGame. com were sold by Rovi in July 2013 to All Media Network, LLC. All Media Network, LLC. was formed by the founders of SideReel. com. The following are contributors to AllMusic, as of this date, All Media Network also produced the AllMusic guide series that includes the AllMusic Guide to Rock, the All Music Guide to Jazz and the All Music Guide to the Blues. Vladimir Bogdanov is the president of the series, in August 2007, PC Magazine included AllMusic in its Top 100 Classic Websites list. All Media Network AllGame AllMovie SideReel All Music Guide to the Blues All Music Guide to Jazz Stephen Thomas Erlewine Official website

16.
Rolling Stone
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Rolling Stone is an American biweekly magazine that focuses on popular culture. It was founded in San Francisco in 1967 by Jann Wenner, who is still the publisher. It was first known for its coverage and for political reporting by Hunter S. Thompson. In the 1990s, the magazine shifted focus to a readership interested in youth-oriented television shows, film actors. In recent years, it has resumed its traditional mix of content, Rolling Stone magazine was founded in San Francisco in 1967 by Jann Wenner and Ralph Gleason. To get it off the ground, Wenner borrowed $7,500 from his own family and from the parents of his soon-to-be wife, Jane Schindelheim. The first issue carried a date of November 9,1967. Some authors have attributed the name solely to Dylans hit single, At Gleasons suggestion, Rolling Stone initially identified with and reported the hippie counterculture of the era. In the very first edition, Wenner wrote that Rolling Stone is not just about the music, in the 1970s, Rolling Stone began to make a mark with its political coverage, with the likes of gonzo journalist Hunter S. Thompson writing for the magazines political section. Thompson first published his most famous work Fear and Loathing in Las Vegas within the pages of Rolling Stone, where he remained a contributing editor until his death in 2005. In the 1970s, the magazine also helped launch the careers of prominent authors, including Cameron Crowe, Lester Bangs, Joe Klein, Joe Eszterhas, Patti Smith. It was at point that the magazine ran some of its most famous stories. One interviewer, speaking for a number of his peers, said that he bought his first copy of the magazine upon initial arrival on his college campus. In 1977, the magazine moved its headquarters from San Francisco to New York City, editor Jann Wenner said San Francisco had become a cultural backwater. During the 1980s, the magazine began to shift towards being an entertainment magazine. Music was still a dominant topic, but there was increasing coverage of celebrities in television, films, the magazine also initiated its annual Hot Issue during this time. Rolling Stone was initially known for its coverage and for Thompsons political reporting. In the 1990s, the changed its format to appeal to a younger readership interested in youth-oriented television shows, film actors

17.
The Rolling Stone Album Guide
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The Rolling Stone Album Guide, previously known as The Rolling Stone Record Guide, is a book that contains professional music reviews written and edited by staff members from Rolling Stone magazine. Its first edition was published in 1979 and its last in 2004, the guide can be seen at Rate Your Music, while a list of albums given a five star rating by the guide can be seen at Rocklist. net. The Rolling Stone Record Guide was the first edition of what would later become The Rolling Stone Album Guide and it was edited by Dave Marsh and John Swenson, and included contributions from 34 other music critics. It is divided into sections by musical genre and then lists artists alphabetically within their respective genres, Albums are also listed alphabetically by artist although some of the artists have their careers divided into chronological periods. Dave Marsh, in his Introduction, cites as precedents Leonard Maltins book TV Movies and he gives Phonolog and Schwanns Records & Tape Guide as raw sources of information. The first edition included black and white photographs of many of the covers of albums which received five star reviews and these titles are listed together in the Five-Star Records section, which is coincidentally five pages in length. The edition also included reviews for many artists including Lenny Bruce, Lord Buckley, Bill Cosby, The Firesign Theatre, Spike Jones. Comedy artists were listed in the catch-all section Rock, Soul, Country and Pop, which included the genres of folk, bluegrass, funk, traditional pop performers were not included, with the notable exceptions of Frank Sinatra and Nat King Cole. Included too were some artists who might now be considered as world music. Big band jazz was handled selectively, with certain band leaders omitted, many other styles of jazz did appear in the Jazz section. The book was notable for the time in the provocative, in your style of many of its reviews. For example, writing about Neil Youngs song, Down by the River and his colleague, Dave Marsh, in reviewing the three albums of the jazz fusion group Chase, gave a one-word review, Flee. Good, a record of average worth, but one that might possess considerable appeal for fans of a particular style, mediocre, a record that is artistically insubstantial, though not truly wretched. Poor, a record where even technical competence is at question or it was remarkably ill-conceived, worthless, a record that need never have been created. Reserved for the most bathetic bathwater, Dave Marsh John Swenson Billy Altman Bob Blumenthal Georgia Christgau Jean-Charles Costa Chet Flippo Russell Gersten Mikal Gilmore Alan E. Like the first edition, it was edited by Dave Marsh and it included contributions from 52 music critics and featured chronological album listings under the name of each artist. In many cases, updates from the first edition consist of short, the only difference is that in addition to a rating, the second edition employs the pilcrow mark to indicate a title that was out of print at the time the guide was published. Many records had their ratings lowered as the book now offered a revisionist slant to rocks history and it included contributions from 16 music critics and featured alphabetical album listings under the name of each artist

18.
Electronic music
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In general, a distinction can be made between sound produced using electromechanical means and that produced using electronic technology. Examples of electromechanical sound producing devices include the telharmonium, Hammond organ, purely electronic sound production can be achieved using devices such as the theremin, sound synthesizer, and computer. During the 1920s and 1930s, electronic instruments were introduced and the first compositions for instruments were composed. Musique concrète, created in Paris in 1948, was based on editing together recorded fragments of natural and industrial sounds, Music produced solely from electronic generators was first produced in Germany in 1953. Electronic music was created in Japan and the United States beginning in the 1950s. An important new development was the advent of computers for the purpose of composing music, algorithmic composition was first demonstrated in Australia in 1951. In America and Europe, live electronics were pioneered in the early 1960s, during the 1970s to early 1980s, the monophonic Minimoog became once the most widely used synthesizer at that time in both popular and electronic art music. In the 1980s, electronic music became dominant in popular music, with a greater reliance on synthesizers, and the adoption of programmable drum machines. Electronically produced music became prevalent in the domain by the 1990s. Contemporary electronic music includes many varieties and ranges from art music to popular forms such as electronic dance music. Today, pop music is most recognizable in its 4/4 form. At the turn of the 20th century, experimentation with emerging electronics led to the first electronic musical instruments and these initial inventions were not sold, but were instead used in demonstrations and public performances. The audiences were presented with reproductions of existing music instead of new compositions for the instruments, while some were considered novelties and produced simple tones, the Telharmonium accurately synthesized the sound of orchestral instruments. It achieved viable public interest and made progress into streaming music through telephone networks. Critics of musical conventions at the time saw promise in these developments, ferruccio Busoni encouraged the composition of microtonal music allowed for by electronic instruments. He predicted the use of machines in future music, writing the influential Sketch of a New Esthetic of Music, futurists such as Francesco Balilla Pratella and Luigi Russolo began composing music with acoustic noise to evoke the sound of machinery. They predicted expansions in timbre allowed for by electronics in the influential manifesto The Art of Noises, developments of the vacuum tube led to electronic instruments that were smaller, amplified, and more practical for performance. In particular, the theremin, ondes Martenot and trautonium were commercially produced by the early 1930s, from the late 1920s, the increased practicality of electronic instruments influenced composers such as Joseph Schillinger to adopt them

19.
Alan Wilder
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Alan Charles Wilder is an English musician, composer, arranger and record producer, known as a former member of the electronic band Depeche Mode from 1982 to 1995. Since his departure from the band, the project called Recoil became his primary musical enterprise. Wilder has also provided production and remixing services to the bands Nitzer Ebb and he is a classically trained musician and renowned contemporary music producer. Alan Charles Wilder was born into middle class family and was raised in Acton and he began piano at the age of eight, through the encouragement of his parents. Later on, he learned the flute at St Clement Danes Grammar school, after school, Alan worked as a studio assistant at DJM Studios. This led to him ending up working for such as The Dragons, Dafne and the Tenderspots, Real to Real, The Hitmen. Following the departure of Vince Clarke, Depeche Mode placed an advertisement in the music magazine Melody Maker, even though the ad was looking for someone under 21 he lied about his age to get the job, and got away with it. He joined Depeche Mode in January 1982, initially as a tour keyboardist, Wilder wrote a handful of songs for Depeche Mode, including Two Minute Warning and The Landscape Is Changing from the album Construction Time Again, and If You Want from the album Some Great Reward. However, Wilders more notable contributions to Depeche Mode were as a musician, arranger, in addition to playing synthesizer throughout his time with Depeche Mode, Wilder also played piano on the bands signature ballad Somebody, and oboe on the bands hit anthem, Everything Counts. For the recording of the album Songs of Faith and Devotion, for Enjoy the Silence from the album Violator, Wilder is credited with taking Martin Gores melancholy ballad-esque demo and re-envisioning the song as a percolating, melodic dance track. The resulting single went on to one of the most commercially successful songs in Depeche Modes history. My decision to leave the group was not an easy one particularly as our last few albums were an indication of the potential that Depeche Mode was realizing. Unfortunately, within the group, this level of input never received the respect, whilst I believe that the calibre of our musical output has improved, the quality of our association has deteriorated to the point where I no longer feel that the end justifies the means. I have no wish to cast aspersions on any individual, suffice to say that relations have become strained, increasingly frustrating and, ultimately, in certain situations. Given these circumstances, I have no option but to leave the group and it seems preferable therefore, to leave on a relative high, and as I still retain a great enthusiasm and passion for music, I am excited by the prospect of pursuing new projects. The remaining band members have my support and best wishes for anything they may pursue in the future, after his split from Depeche Mode, Wilder was approached by Robert Smith with an offer to join The Cure. According to Wilder himself, the possibility was offered on behalf of The Cure by Daryl Bamonte and he briefly reunited with Depeche Mode during the Teenage Cancer Trust concert at the Royal Albert Hall in London on 17 February 2010, and enjoyed a rapturous reception. During the encore, Wilder accompanied Martin Gore on piano for Somebody, Gore returned the favour and played a DJ set on one of Recoils Selected Events

20.
Hollywood Freeway
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The Hollywood Freeway is one of the principal freeways of Los Angeles, California and one of the busiest in the United States. It is the route through the Cahuenga Pass, the primary shortcut between the Los Angeles Basin and the San Fernando Valley. It is considered one of the most important freeways in the history of Los Angeles and it is the second oldest freeway in Los Angeles. From its southern end at the Four Level Interchange to its intersection with the Ventura Freeway in the southeastern San Fernando Valley and it is then signed as State Route 170 north to its terminus at the Golden State Freeway. The freeway runs from the Four Level Interchange in downtown Los Angeles to the Golden State Freeway in the Sun Valley district of Los Angeles in the San Fernando Valley. From the Four Level Interchange to its intersection with the Ventura Freeway in the southeastern San Fernando Valley, afterwards, it is signed as State Route 170 until its northern terminus at Interstate 5. The intersection of the Hollywood and Pasadena Freeways, known as the Four Level Interchange, is one of the landmarks in Los Angeles. The entire route is part of the California Freeway and Expressway System, SR170 begins its northbound route at the junction with the Ventura Freeway, continuing the freeway northwards. US101 leaves the freeway, merging onto the Ventura Freeway, SR134 continues the Ventura Freeway, heading east. On the southbound side, a sign indicates END Route 170, curiously, there is no interchange from SR134 West to US101 South. This connector route was put on hold pending the construction of the Laurel Canyon Freeway, which never came to fruition. Motorists intending to go in that direction must exit SR134 at Cahuenga Boulevard, make a left, continue on Lankershim Blvd. likewise, there is no interchange from US101 North to SR134 East. Motorists intending to go in that direction must exit US101 at Vineland Ave. make a right, make another right on Riverside Dr. and this interchange is also known as the Hollywood Split. SR170 then continues through the portion of the San Fernando Valley. There is no route to I-5 South because the angle between the two freeways is too acute. There are HOV lanes in operation 24 hours a day in each direction of SR-170 between I-5 and the Hollywood Split interchange. There is a connection from the northbound SR-170 HOV lanes onto the northbound I-5 HOV lanes. This makes it possible to connect with the I-5 HOV lanes as well as the SR-14 HOV lanes without merging into regular lanes, plans for the Hollywood Freeway officially began in 1924 when Los Angeles voters approved a stop-free express highway between Downtown Los Angeles and the San Fernando Valley

21.
Direct Cinema
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Direct Cinema is the result of two predominant and related factors—The desire for a new cinematic realism and the development of the equipment necessary to achieving that desire. Many technological, ideological and social aspects contribute to the Direct Cinema movement, Direct Cinema was made possible, in part, by the advent of light, portable cameras, which allowed the hand-held camera and more intimacy in the filmmaking. It also produced movements that are the styles visual trademark, the first cameras of this type were German cameras, designed for ethnographic cinematography. The company Arriflex was considered the first to commercialize such cameras. Easily available, portable cameras played an important part, but the existence of these cameras in itself did not trigger the birth of Direct Cinema, the idea of cinema as an objective space has been present since its birth. The Kino-Pravda practice of Dziga Vertov, which can be traced back to the 1920s, gave a voice to this notion. Before the 1960s and the advent of Direct Cinema, the concepts of propaganda, film education, Cinema in its ontological objectivity was seen by many viewers as reality captured and a means of universal education, as had been photography in its early period. Documentaries from the 1950s provide insight into the level of understanding that viewers of that day had of manipulation, Direct Cinema gained its importance in the perspective of the popular evolution of ideas about reality and the media. Before the use of pilottone and the 1961 Nagra III, sound recording machinery was either extremely heavy or unreliable, many attempts were made to solve this problem during the 1950s and 1960s. At the National Film Board of Canada, for example, a system called Sprocketape was designed, in the best case scenario, documentary sound was recorded before, in interviews, or much later on location, with a portable studio located in a sound-proofed truck. The sounds that were captured were later synched in sound editing, in other cases, the soundtrack was recorded, as in fiction films, with layers of ambient sound, archival sound effects, foley, and post-synced voices. In other cases the subject was brought into a studio. Sound taken directly from the studio made the nature of the recording arguable. For example, a production might reconstruct a stable in the studio, with improved sound, lighting and camera equipment available, the technical conditions necessary for the advent of Direct Cinema were present. The social and ideological conditions that led to Direct Cinema also appeared, Direct Cinema seemed to reflect this new attitude. It emerged from a desire to compare common opinion with reality and it attempted to show how things really are, outside the studio, far from the editorial control of the establishment — be it governmental or big press. What was noteworthy was that the desire to test common opinion and show reality was constantly kept in check with an awareness that it is easy to lie with sound. This tension was at the center of Direct Cinema and resulted in its formal style, the awareness of cinemas potential to lie would result in filmmakers trying precise ways of shooting

22.
Bob Dylan
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Bob Dylan is an American songwriter, singer, painter, and writer. He has been influential in music and culture for more than five decades. Much of his most celebrated work dates from the 1960s, when his songs chronicled social unrest, early songs such as Blowin in the Wind and The Times They Are a-Changin became anthems for the Civil Rights Movement and anti-war movement. Leaving behind his initial base in the American folk music revival, his six-minute single Like a Rolling Stone, recorded in 1965, Dylans lyrics incorporate a wide range of political, social, philosophical, and literary influences. They defied existing pop music conventions and appealed to the burgeoning counterculture, initially inspired by the performances of Little Richard and the songwriting of Woody Guthrie, Robert Johnson, and Hank Williams, Dylan has amplified and personalized musical genres. Dylan performs with guitar, keyboards, and harmonica, backed by a changing lineup of musicians, he has toured steadily since the late 1980s on what has been dubbed the Never Ending Tour. His accomplishments as a recording artist and performer have been central to his career, since 1994, Dylan has published seven books of drawings and paintings, and his work has been exhibited in major art galleries. As a musician, Dylan has sold more than 100 million records and he has also received numerous awards including eleven Grammy Awards, a Golden Globe Award, and an Academy Award. Dylan has been inducted into the Rock and Roll Hall of Fame, Minnesota Music Hall of Fame, Nashville Songwriters Hall of Fame, and Songwriters Hall of Fame. The Pulitzer Prize jury in 2008 awarded him a citation for his profound impact on popular music and American culture. In May 2012, Dylan received the Presidential Medal of Freedom from President Barack Obama, in 2016, he was awarded the Nobel Prize in Literature for having created new poetic expressions within the great American song tradition. Bob Dylan was born Robert Allen Zimmerman in St. Marys Hospital on May 24,1941, in Duluth, Minnesota and he has a younger brother, David. Dylans paternal grandparents, Zigman and Anna Zimmerman, emigrated from Odessa, in the Russian Empire and his maternal grandparents, Ben and Florence Stone, were Lithuanian Jews who arrived in the United States in 1902. Dylans father, Abram Zimmerman – an electric-appliance shop owner – and mother, Beatrice Beatty Stone, were part of a small, close-knit Jewish community. They lived in Duluth until Robert was six, when his father had polio and the returned to his mothers hometown, Hibbing. In his early years he listened to the radio—first to blues and country stations from Shreveport, Louisiana, and later and he formed several bands while attending Hibbing High School. In the Golden Chords, he performed covers of songs by Little Richard and their performance of Danny & the Juniors Rock and Roll Is Here to Stay at their high school talent show was so loud that the principal cut the microphone. In 1959, his high school yearbook carried the caption Robert Zimmerman, the same year, as Elston Gunnn, he performed two dates with Bobby Vee, playing piano and clapping

23.
David Bowie
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David Robert Jones, known professionally as David Bowie, was an English singer, songwriter and actor. He was a figure in music for over five decades, regarded by critics and musicians as an innovator. His career was marked by reinvention and visual presentation, his music, during his lifetime, his record sales, estimated at 140 million worldwide, made him one of the worlds best-selling music artists. In the UK, he was awarded nine platinum album certifications, eleven gold and eight silver, in the US, he received five platinum and seven gold certifications. He was inducted into the Rock and Roll Hall of Fame in 1996, born in Brixton, South London, Bowie developed an interest in music as a child, eventually studying art, music and design before embarking on a professional career as a musician in 1963. Space Oddity became his first top-five entry on the UK Singles Chart after its release in July 1969, after a period of experimentation, he re-emerged in 1972 during the glam rock era with his flamboyant and androgynous alter ego Ziggy Stardust. The character was spearheaded by the success of his single Starman and album The Rise and Fall of Ziggy Stardust and the Spiders from Mars, in 1976, Bowie starred in the cult film The Man Who Fell to Earth and released Station to Station. Heroes and Lodger followed, each reached the UK top five. He then reached his peak in 1983 with Lets Dance. Throughout the 1990s and 2000s, Bowie continued to experiment with styles, including industrial. He stopped concert touring after 2004, and his last live performance was at a charity event in 2006, in 2013, Bowie returned from a decade-long recording hiatus with the release of The Next Day. He remained musically active until he died of cancer two days after the release of his final album, Blackstar. David Robert Jones was born on 8 January 1947, in Brixton, south London and his mother, Margaret Mary Peggy, was born in Kent, and had Irish ancestry, she worked as a waitress. His father, Haywood Stenton John Jones, from Yorkshire, was an officer for the childrens charity Barnardos. The family lived at 40 Stansfield Road, near the border of the south London areas of Brixton, Bowie attended Stockwell Infants School until he was six years old, acquiring a reputation as a gifted and single-minded child—and a defiant brawler. In 1953, Bowie moved with his family to the suburb of Bromley and his voice was considered adequate by the school choir, and he demonstrated above-average abilities in playing the recorder. Upon listening to Little Richards song Tutti Frutti, Bowie would later say, presleys impact on him was likewise emphatic, I saw a cousin of mine dance to. Hound Dog and I had never seen her get up and be moved so much by anything and it really impressed me, the power of the music

24.
Real World (TV series)
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Real World is a reality television series on MTV originally produced by Mary-Ellis Bunim and Jonathan Murray. Seven to eight young adults are picked to temporarily live in a new city together in one residence while being filmed non-stop, following Bunims death from breast cancer in 2004, Bunim/Murray Productions continues to produce the program. The current 32nd season, set in Seattle, Washington, premiered on October 12,2016, the Real World was inspired by the 1973 PBS documentary series An American Family. It focuses on the lives of a group of strangers who audition to live together in a house for several months, the show moves to a different city each season. The narration given over the title sequence used during the first 28 seasons by the seven housemates states some variation of the following. Picked to live in a house, and have their lives taped. to find out what happens. When people stop being polite. and start getting real. The Real World, the Real World was originally inspired by the popularity of youth-oriented shows of the 1990s like Beverly Hills,90210 and Melrose Place. Bunim and Murray initially considered developing a series in a similar vein, but quickly decided that the cost of paying writers, actors, costume designers. Bunim and Murray decided against this idea, and at the last minute, Dutch TV producer Erik Latour claims that the ideas for The Real World were directly derived from his television show Nummer 28, which aired in 1991 on Dutch television. The production converted a massive, 4000-square-foot duplex in Soho, cast seven cast members from 500 applicants, the cast lived in the loft from February 16 to May 18,1992. The series premiered three days later, on May 21,1992, at the time of its initial airing, reviews of the show were mostly negative. Shales also remarked upon the cast members’ creative career choices, saying, nonetheless, the series was a hit with viewers. As the show increased in popularity, Zamora’s life as living with AIDS gained considerable notice. Zamora was one of the first openly gay men with AIDS to be portrayed in popular media, by July 1995, the series surpassed Beavis and Butt-head as the networks top-rated show during the fourth season, The Real World, London. Appearing on the program has served as a springboard to further success. Eric Nies of the New York cast went on to become a model, actor and his housemate, Kevin Powell, became a successful author, poet, journalist, and politician. Their housemate Heather B. Gardner went on to become a music artist under the professional name Heather B. Winick also published Pedro and Me, a novel about his friendship with fellow castmate Pedro Zamora

25.
Super Audio CD
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Super Audio CD is a read-only optical disc for audio storage, introduced in 1999. It was developed jointly by Sony and Philips Electronics, and intended to be the successor to their Compact Disc format, having made little impact in the consumer audio market, by 2007, SACD was deemed to be a failure by the press. A small market for SACD has remained, serving the audiophile community, the Super Audio CD format was introduced in 1999. Royal Philips and Crest Digital partnered in May 2002 to develop and install the first SACD hybrid disc production line in the USA, SACD did not achieve the same level of growth that Compact discs enjoyed in the 1980s, and was not accepted by the mainstream market. By October 2009, record companies had published more than 6,000 SACD releases, jazz and popular music albums, mainly remastered previous releases, were the next two most numerous genres represented. Many popular artists have released some or all of their catalog on SACD. Pink Floyds album The Dark Side of the Moon sold over 800,000 copies by June 2004 in its SACD Surround Sound edition, the Whos rock opera Tommy, and Roxy Musics Avalon, were released on SACD to take advantage of the formats multi-channel capability. All three albums were remixed in 5.1 surround, and released as hybrid SACDs with a mix on the standard CD layer. Some popular artists have released new recordings on SACD, sales figures for Stings Sacred Love album reached number one on SACD sales charts in four European countries in June 2004. Between 2007 and 2008, Genesis re-released all of their studio albums across three box sets, each album in these sets contains the original album on SACD in both stereo and 5.1 mixes. The US & Canada versions do not use SACD but CD instead, by August 2009443 labels had released one or more SACDs. Instead of depending on major label support, some orchestras and artists have released SACDs on their own, many of the SACD discs that were released from 2000-2005 are now out of print and are available only on the used market. By 2009, the record companies were no longer regularly releasing discs in the format. SACD is a disc of identical physical dimensions as a compact disc. There are three types of disc, Hybrid, Hybrid SACDs are encoded with a 4.7 GB DSD layer, single-layer, A DVD-5 encoded with one 4.7 GB DSD layer. Dual-layer, A DVD-9 encoded with two DSD layers, totaling 8.5 GB, and no PCM layer, dual-layer SACDs can store nearly twice as much data as a single-layer SACD. Unlike hybrid discs, both single- and dual-layer SACDs are incompatible with conventional CD players and cannot be played on them, a stereo SACD recording has an uncompressed rate of 5.6 Mbit/s, four times the rate for Red Book CD stereo audio. Other technical parameters are as follows, Commercial releases commonly included both surround sound and stereo mixes on the SACD layer, some reissues however, retained the mixes of earlier multi-channel formats

26.
Pulse-code modulation
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Pulse-code modulation is a method used to digitally represent sampled analog signals. It is the form of digital audio in computers, compact discs, digital telephony. In a PCM stream, the amplitude of the signal is sampled regularly at uniform intervals. Linear pulse-code modulation is a type of PCM where the quantization levels are linearly uniform. This is in contrast to PCM encodings where quantization levels vary as a function of amplitude, though PCM is a more general term, it is often used to describe data encoded as LPCM. Early electrical communications started to sample signals in order to interlace samples from multiple telegraphy sources, the American inventor Moses G. Farmer conveyed telegraph time-division multiplexing as early as 1853. Electrical engineer W. M. Miner, in 1903, used an electro-mechanical commutator for time-division multiplexing multiple telegraph signals and he obtained intelligible speech from channels sampled at a rate above 3500–4300 Hz, lower rates proved unsatisfactory. This was TDM, but pulse-amplitude modulation rather than PCM, in 1920 the Bartlane cable picture transmission system, named after its inventors Harry G. Bartholomew and Maynard D. In 1926, Paul M. Rainey of Western Electric patented a machine which transmitted its signal using 5-bit PCM. The machine did not go into production, british engineer Alec Reeves, unaware of previous work, conceived the use of PCM for voice communication in 1937 while working for International Telephone and Telegraph in France. He described the theory and advantages, but no practical application resulted, Reeves filed for a French patent in 1938, and his US patent was granted in 1943. By this time Reeves had started working at the Telecommunications Research Establishment, the first transmission of speech by digital techniques, the SIGSALY encryption equipment, conveyed high-level Allied communications during World War II. In 1943 the Bell Labs researchers who designed the SIGSALY system became aware of the use of PCM binary coding as already proposed by Alec Reeves. In 1949 for the Canadian Navys DATAR system, Ferranti Canada built a working PCM radio system that was able to transmit digitized radar data over long distances, PCM in the late 1940s and early 1950s used a cathode-ray coding tube with a plate electrode having encoding perforations. The plate collected or passed the beam, producing current variations in binary code, rather than natural binary, the grid of Goodalls later tube was perforated to produce a glitch-free Gray code, and produced all bits simultaneously by using a fan beam instead of a scanning beam. Patent 2,801,281 filed in 1946 and 1952, another patent by the same title was filed by John R. Pierce in 1945, and issued in 1948, U. S. The three of them published The Philosophy of PCM in 1948, PCM is the method of encoding generally used for uncompressed audio, although there are other methods such as pulse-density modulation. The 4ESS switch introduced time-division switching into the US telephone system in 1976, LPCM is used for the lossless encoding of audio data in the Compact disc Red Book standard, introduced in 1982

27.
Dave Gahan
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David Dave Gahan is an English singer-songwriter, best known as the baritone lead singer of the electronic band Depeche Mode since their debut in 1980. He is also a solo artist, releasing albums in 2003 and 2007. Three of these songs were released as singles, including Suffer Well in 2005, Hole to Feed in 2009, in 2012 and 2015, he also contributed lyrics and sang lead vocals on the Soulsavers albums The Light the Dead See and Angels & Ghosts. Q magazine ranked Gahan no.73 on the list of the 100 Greatest Singers, Gahan was born as David Callcott into a working-class family, to parents Len Callcott of Malaysian descent and his wife Sylvia, Dave was only six months old when his father left the family. Sylvia and Len divorced two years later and his mother moved Dave and sister Sue to Basildon, Essex, after Sylvia met, the Gahan family continued to grow with the birth of two more half-brothers Peter and Phil. Dave and Sue were raised under the impression that their mothers second husband, in 1972, when Gahan was 10 years old, his stepfather died. Gahan recalled how he came one day and found this bloke at home. Of the incident, he has said, Ill never forget that day, when I came home from school, there was this stranger in my mums house. My mother introduced him to me as my real dad, I remember I said, that was impossible because my father was dead. How was I supposed to know who that man was, from that day on, Len often visited the house, until one year later he disappeared again. Since then he had no contact with us, by growing older, I thought about him more and more. The only thing my mother would say, was that he moved out to Jersey to open a hotel. Mum had kept it back from me til there was a need to tell me about my father, its a different generation. He enjoyed the thrill of stealing cars, driving them around, Gahan tells of the time, I was pretty wild. I loved the excitement of nicking a motor, screeching off, hiding behind the wall with your heart beating gives you a real kick – will they get you. In his final year at school, he applied for a job as an apprentice fitter with North Thames Gas. He was told by his officer to be honest with the interviewer. As a result, he did not get the job which and his punishment was weekend custody at a sub-Borstal attendance centre in Romford for one year

28.
Martin Gore
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Martin Lee Gore is an English singer-songwriter, guitarist, keyboardist, producer, remixer, and DJ. He is a member of Depeche Mode and has written the majority of their songs. His work now spans four decades. In addition to composing music and writing lyrics for the majority of Depeche Modes songs and he has been a backing singer on many others. In 1999, Gore received the Ivor Novello Award from the British Academy of Songwriters, Composers and Authors for International Achievement, Martin Lee Gore was born in Dagenham, Essex in England. Gores biological father was an African-American G. I. stationed in Britain, Gore was raised by his stepfather and biological mother. He believed his stepfather was his father until age 13. When he was 13, he learned that his father was an African-American serviceman and, as an adult. Gore responds to the information and is quoted in Millers book saying, It brings up family traumas. He left Nicholas Comprehensive, Basildon in 1977 and took a job as a bank cashier. During evenings, weekends and any spare time, he was involved with the local band Norman. Gore has two younger half-sisters, Karen, born in 1967, and Jacqueline, born in 1968, in 1980, Gore met Andy Fletch Fletcher at the Van Gogh club. Fletcher recruited Gore into his band Composition of Sound along with Vince Clarke, soon the band drafted Dave Gahan to be the lead singer after hearing him sing Heroes by David Bowie. Clarke left Depeche Mode in late 1981, shortly after the release of their debut album Speak & Spell, Clarke wrote most of the album, with Gore contributing two tracks, Tora. Tora. and the instrumental Big Muff, any Second Now features Gores first lead vocals for the band. Gore sings lead vocals on several of the songs, notably ballads. When Clarke announced his departure from Depeche Mode in 1981, citing the pressures of fame and creative differences, Gore had been writing material since the age of 12. Songs Gore wrote for Depeche Modes second album, A Broken Frame differed musically and lyrically from Clarkes, Gores writing became gradually darker and more political on subsequent Depeche Mode albums

29.
Andy Fletcher (musician)
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Andrew John Leonard Fletcher, popularly known as Fletch, is an English keyboard player and founding member of the electronic band Depeche Mode. In the late 1970s, Fletcher and schoolmate Vince Clarke formed the short-lived band No Romance in China, in 1980, Fletcher met Martin Gore at the Van Gogh Pub on Paycocke Road in Basildon. With Clarke, the trio, now all on synthesizer, formed another group called Composition of Sound, Clarke left the group in late 1981, shortly after the release of their debut album Speak & Spell. Their 1982 follow-up, A Broken Frame, was recorded as a trio, musician & producer Alan Wilder joined the band in late 1982 and the group continued as a quartet until Wilders departure in 1995. Since then, the trio of Gahan, Gore and Fletcher have remained active, most recently with the release of their 2017 album Spirit. Fletchers role within Depeche Mode has often been a topic of speculation, in early incarnations of the band, he played bass. As the band evolved after Vince Clarkes departure in 1981, Fletchers role changed as each of the members took to the areas that suited them. In a key scene in D. A. Pennebakers 1989 documentary film about the band, Fletcher clarifies these roles, Martins the songwriter, Alans the good musician, Daves the vocalist and he is the only member of the band who has not received a songwriting credit. Fletcher, however, always has and continues to play a role within the band. With the band having not always employed a manager, Fletcher has handled many of the bands business, legal. In recent years, this has included acting as the bands spokesperson and he is also said to be the member who is the tiebreaker and the one that brings the band together. In the studio and during shows, Fletcher does contribute a variety of supporting synthesizer parts, including bass parts, pads, strings and drone sounds. However, he is notably the only member of Depeche Mode who does not sing, although he can be seen singing in videos of Depeches past live performances, usually Fletchers vocals were either mixed very low or heard only through his own stage monitors. On the bands 2013/14 Delta Machine Tour, vocal mics were no longer present on his keyboard station, on studio recordings, however, Fletchers supporting vocals can be heard in some form or another on the majority of all Depeche Mode albums released since 1981. According to anecdotes from various members of Depeche Mode, an Andy Fletcher solo album entitled Toast Hawaii was recorded in Berlin during the Some Great Reward sessions in 1984, according to these anecdotes, all the songs on the album are cover songs on which Fletcher sings lead vocals. The album allegedly features Alan Wilder and/or Martin Gore on piano, the story then goes that Gore & Wilder presented the album to Mute Records Daniel Miller and pleaded for him to release it. In reality, this album is almost certainly an in-joke, although it is not entirely unlikely that during studio downtime from serious work. In 2002, Fletcher launched his own label, a Mute Records imprint called Toast Hawaii

30.
Paper Monsters
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Paper Monsters is the solo debut album by Depeche Modes lead singer Dave Gahan. It was released by Mute Records on 2 June 2003 in Europe, the album was produced by Ken Thomas, who is best known for his work with Icelandic band Sigur Rós. Upon its debut, critical reception was mixed, while many complimented the albums personal subject matter. One concert of the tour, the one on 4-5.07 in Paris at the Olympia, was recorded and released on a DVD called Live Monsters. From this album, four songs were released on three singles, Dirty Sticky Floors, I Need You and Bottle Living/Hold On, the three reached the UK Top 40. Gahan first played with the idea of releasing an album after the release of Depeche Modes Exciter in 2001. It was not until he began writing music with friend and musician Knox Chandler that he gained the self-confidence he needed to begin to consider working on an album of his own material, all tracks written and composed by Dave Gahan and Knox Chandler. The DVD contains a short film, music videos, and live performances by Gahan filmed in New York City, all bonus tracks and footage appear on the United Kingdom and North American edition of Paper Monsters. In a review for the BBC, Kate Lawrence called Paper Monsters an assured debut with surprising depth, slant Magazine echoed Lawrences review for the BBC, calling the album a competent solo debut with murky rock grooves and throaty vocals. However, Pitchfork Media reviewer Michael Idov was less impressed with the album, Idov criticised Gahans lyrics stating that his vocal can still elevate the dumbest lyric to the level of a cathartic mantra, a skill that comes handy in the absence of Martin Gore. Allmusic reviewer Don Kline called Paper Monsters a mix of swampy blues-injected rock, slick urban electronica and he also stated that although it doesnt stray too far from the Depeche mould, Gahan does manage to put his own stamp on the songs. Dirty Sticky Floors, the single from the album, became Gahans most successful solo release. Its remixes were also promoted in U. S. dance clubs and this first single had two b-sides, Stand Up and Maybe. The second single I Need You was a ballad based around a synth and drum arrangement, the second single also had two b-sides, Closer and Breathe. The third and final single was Bottle Living / Hold On, meaning that two songs were released on the same single. The single also contained a remix of album track, Hidden Houses. The single continued the string of top-forty singles reaching #36 in the UK. All editions released by Mute and Reprise Records, album information from the official Dave Gahan web site Allmusic review Official website

31.
Client (band)
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Client are an English electronic music group from London, formed in 2002. They are most popular in Germany where they have had limited commercial success and their uniforms have become their trademark. Holmes is married to Alan McGee, in late 2005 a new member, Client E, joined the group. This is Emily Mann, who was a contestant on the Channel 5 reality show Make Me a Supermodel, an artist, Client E left the band in June 2007. In November 2007 Charlotte Hatherley joined the band as Client C, Client was the first act signed to Depeche Mode member Andy Fletchers record label, Toast Hawaii. They have toured with the likes of Depeche Mode and Erasure and have described as a combination of the Pet Shop Boys at their most commercial. Client have collaborated with several musicians and directors. Their video for Pornography was directed by French director Jamie Deliessche from video production company Schmooze and it features Carl Barât on vocals. The song Down to the Underground features Pete Doherty, also of The Libertines, the song Overdrive features Martin L. Gore of Depeche Mode. The song Wheres the Rock and Roll Gone features Tim Burgess of The Charlatans, Client have collaborated with Die Krupps, Moonbootica and Replica on selected tracks and also have done a special duet, Suicide Sister with Douglas McCarthy of Nitzer Ebb. It was announced in October 2006 that Client had parted ways with the Toast Hawaii label and it was confirmed in December 2010 that Blackwood had left the band and a new member was being recruited to front the band. In July 2011, Holmes announced that Xan Tyler—with whom Holmes formed the synthpop duo Technique in the take over live lead vocals for the band. However, this never came to fruition, on 4 September 2013, Client debuted the music video for their single You Can Dance, which introduced new member Nicole Thomas, known as Client N. Their fifth studio album, Authority, was released on 21 March 2014 on Out of Line Music, Client City Heartland Command Authority Going Down Metropolis Untitled Remix Live at Club Koko Live in Porto Live in Hamburg Client on Facebook Client at AllMusic

32.
Vince Clarke
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Vince Clarke is an English synthpop musician and songwriter. Clarke has been the composer and musician of the band Erasure since 1985. Vincent John Martin was born in South Woodford, London and then he moved to Basildon and he initially studied the violin and then the piano, but he was inspired to make electronic music upon hearing Wirral synth band Orchestral Manoeuvres in the Dark. Along with OMD, other influences included The Human League, Daniel Miller. In the late-1970s, Clarke and schoolmate Andy Fletcher formed a band called No Romance in China. In 1980, he teamed up with Robert Marlow and Martin Gore to form French Look, another band, named Composition of Sound, followed in 1980 with another addition of Martin Gore and Andy Fletcher. Clarke provided vocals until singer Dave Gahan joined the band, which was renamed Depeche Mode, at that time, he adopted the stage-name Vince Clarke, by which he is currently known. The band initially adopted a slick synthesized electropop sound, which produced the album Speak and Spell, Clarke left Depeche Mode shortly thereafter. There were many rumoured reasons pertaining to his departure and he commented on Depeche Modes later material as being a little dark for his taste, but good nonetheless. Clarke also stated that he did not enjoy the public aspects of success, such as touring and interviews, Clarke was replaced by musician Alan Wilder and Depeche Mode went on to achieve international stardom. Yazoo split in 1983, and Moyet went on to have a solo career. Yazoo reformed in 2008 for a series of dates to celebrate 25 years since the duos split. Meanwhile, he founded the label Reset Records with Eric Radcliffe and they also produced an album, which was shelved but was released much later in 1999 under the name The Peter Pan Effect. In 1985, another took place with Paul Quinn of Bourgie Bourgie. However, the project never took off, and Clarke moved on to other projects, in early 1985, Clarke put an ad in Melody Maker for a singer, and one applicant was Andy Bell, who was a fan of his earlier projects. Blue Savannah, Chorus, Love to Hate You, Take a Chance on Me, in 2006, Erasure produced a country-western style acoustic album consisting of mostly non-single cuts from their previous albums. This album, Union Street was preceded by the single Boy originally included on their 1997 Cowboy album. On 26 January 2007, in a message on the official Erasure website

33.
Behind the Wheel
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Behind the Wheel is Depeche Modes twentieth UK single, released on 28 December 1987, and the third single for the album Music for the Masses. Peaking at #21 in the UK charts, it hit #6 in West Germany, in 1989, the single was ranked #30 on Spin magazines list of the The 100 Greatest Singles Of All Time. Behind the Wheel was written by Martin Gore, route 66 was written by Robert William Troup Jr. The video features a remix of the song, although a video also exists set to the original album version. Behind the Wheel 2011 is a US-only promotional CD single, released 2011, the title track is a remix made by former Depeche Mode member Vince Clarke for the bands Remixes 2, 81-11 album. The single was only, and not for sale. It reached No.3 on the Billboard Hot Dance Club Play chart in 2011

34.
Strangelove (song)
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Strangelove is a single by Depeche Mode from their sixth studio album Music for the Masses. It reached number 16 on the UK Singles Chart, number 2 in West Germany and in South Africa, and was a Top 10 success in several other countries, including Sweden and Switzerland. In the US it reached number 76 on the Billboard Hot 100 and was the first of 9 number-ones on the US Dance charts, the original version of Strangelove is a fast-paced pop track. Though successful, this did not seem to fit with Music for the Massess darker style, alan Wilder, in the Q&A section of his Recoil website, writes that the band felt the single version was too cluttered and was the reason Millers remix was commissioned. Miller expounded on this in the Music for the Masses re-master documentary DVD, stating he felt the single version was too complicated. It was remixed by production team Bomb the Bass and released again as a single in the US as Strangelove 88, there are two B-sides for Strangelove, both instrumental. Pimpf is an instrumental that is mostly piano, named after a magazine of the Hitler Youth organizations. Pimpf later shows up as the track on Music for the Masses. There is also an available on some Strangelove single releases called Fpmip. The second instrumental is Agent Orange, named after the herbicide used in the Vietnam War, at the end of the song, you can hear some Morse code. Rumoured to mean If anybody can hear this, please help me, Agent Orange later shows up as the first bonus track on the CD/Cassette version of Music for the Masses. The music video for Strangelove was directed by Anton Corbijn and appears on the Strange video, shot on Super 8 and monochrome, the video sees the band in various Paris locations, hotel rooms and in a studio posing in front of a rolling backdrop. The live action is combined with short stop-frame animation sequences, the video also stars two models in underwear, as well as passing pedestrians, featured in the closing out-takes sequence of fast-edit shots. In the USA, MTV objected to some of the more revealing footage of the models, while Gore plays the piano in the video, it is Wilder who plays the piano on all piano-instrumentals by the band from 1987–1990 as well as Somebody. In 1988, another video for Strangelove was released for the album version and it was directed by Martyn Atkins, who did photography for earlier DM albums. It was not publicly released on any videocassettes or DVDs until the The Videos 86>98+ DVD in 2002 and this video is much simpler than the original, and features the band performing inside a city-scape location. Strangelove has been sampled in the songs Life Aint a Game by Ja Rule, I Wont Be Crying by Infernal, Fuck You Blind by Kid Rock, in 1994, Italian musician Savage covered the song for his album Strangelove. Both songs were released as free mp3 downloads from Guccis YouTube page, Strangelove was covered by English musician Bat For Lashes during her appearances in June 2011 at the Sydney Opera House Concert Hall for the annual arts/entertainment/music festival Vivid Live

35.
Blasphemous Rumours / Somebody
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Blasphemous Rumours/Somebody is Depeche Modes twelfth UK single and first double A-side single, released on 29 October 1984. Both A-side songs are from the album Some Great Reward, somebody is the first single with Martin Gore as lead vocals, one of only three. The music videos for songs were directed by Clive Richardson. The single charts number 16 in UK single charts, the verses to Blasphemous Rumours describe a 16-year-old girl who attempts suicide but fails. She experiences a religious revival but is killed in a car accident aged 18 and dies. The chorus uses these incidents to conclude, I dont want to start any blasphemous rumours / but I think that Gods got a sense of humour /. Like other songs on Some Great Reward, the uses a dense sound with extensive sampled percussion. No Bong number, same cover as the vinyl version, Filipino R&B band Freestyle revived the song in mid-2000s, the band is the first Filipino musician to cover the song. Filipino musical group BoybandPH is the second Filipino musician to cover the song in 2017, english singer Damian Wilson covered the song for his 2016 solo album Built For Fighting. Single information from the official Depeche Mode web site Allmusic review Lyrics of this song at MetroLyrics

36.
Stripped (song)
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Stripped is Depeche Modes fifteenth UK single, released on 10 February 1986. It was the first single from the album Black Celebration, Stripped is well known for its innovative use of sampling. The underlying beat is a distorted and slowed-down sound of an engine running, while the main melody begins with a cars ignition starting. The bands U. S. label Sire Records, however, decided to use the B-side But Not Tonight on the soundtrack to the movie Modern Girls and included the song on US editions of Black Celebration. As a result, the single was flipped, and released as But Not Tonight in the United States to help promote the movie, the band was not happy with this decision, seeing But Not Tonight as a useless pop track recorded in less than a day. The other two B-Sides are Breathing in Fumes and Black Day, Breathing in Fumes was a new song using samples from Stripped, mixed by the band and Thomas Stiehler. The Highland Mix of Stripped was mixed by Mark Ellis, who in the future would produce Depeche Modes Violator and Songs of Faith, some editions of the Black Celebration CD include the extended remix of But Not Tonight along with Black Day and Breathing in Fumes as bonus tracks. The music video for Stripped was the last Depeche Mode video to be directed by Peter Care and was filmed outside of Hansa Studios in Berlin, the music video for But Not Tonight was directed by Tamra Davis. Two differently cut versions of both Stripped and But Not Tonight are available on Video Singles Collection, Stripped was featured in the film Say Anything. The 12 mix later appeared on the fourth disc of Depeche Modes remix compilation, Remixes 81–04. Stripped –6,42 But Not Tonight –5,12 Breathing in Fumes –6,07 Fly on the Windscreen –4,24 Black Day –2,37 This is the UK Extended 12 version. Neue Deutsche Härte band Rammstein released a cover of Stripped in 1998 and this version cuts the line Let me see you stripped down to the bone to Let me see you stripped, which was due to singer Till Lindemanns difficulty singing down to the bone. The song was originally on the tribute album For the Masses, the song also appears as a hidden track on some special editions of the bands sophomore release Sehnsucht. It was the first English song released by the band, the video for the song incorporated footage from the Leni Riefenstahl Nazi propaganda film Olympia, which led to threats against the band. Members of Depeche Mode, especially Dave Gahan, responded positively to the cover, also, in 1997, the Swedish electro/synth-pop band Statemachine released a version of Stripped on their album Legerdemain. The Italian progressive death/doom metal band Novembre covered Stripped on the album 1995 album Arte Novecento The USA one-man based black metal Leviathan covered Stripped on Demo Five, in 2001, Scott Weiland of Stone Temple Pilots covered But Not Tonight for the soundtrack to Not Another Teen Movie. In 2004, German techno band Scooter covered Stripped on their album Mind the Gap, in 2007, they produced a download-only orchestral version of the song. In 2005, Shiny Toy Guns covered Stripped on Goth Electro Tribute to Depeche Mode, the single can also be found in the second version of their 2005 album We Are Pilots in addition to Blood & Chocolate, Original Motion Picture Soundtrack

37.
Shake the Disease
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Band member Alan Wilder felt this song captured the essence of the band, saying that theres a certain edge to what we do that can make people think twice about things. If weve got a choice between calling a song Understand Me or Shake the Disease, well call it Shake the Disease, theres a lot of perversity and innuendo in our lyrics, but nothing direct. The music video is the first Depeche Mode video directed by Peter Care and it was shot in the town of Hounslow in London. The track reached the top 40 on the US Billboard Hot Dance Club Play chart in November 1985 and it reached number 18 in the UK singles chart. The single reached the Top 10 in Germany, Sweden, Switzerland, etc. the song entered the Irish top 10 and even reached the number 1 spot in Poland. In France, Shake the Disease peaked at number 13, remaining in the top 50 for six months, los Angeles modern rock radio station KROQ-FM named Shake the Disease as the number one song of 1985. All songs written by Martin Gore, the song was covered by the Belgian band Hooverphonic for the 1998 tribute album For the Masses

38.
People Are People
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People Are People is Depeche Modes 10th UK single, and was recorded at Hansa Mischraum in West Berlin, and released on 12 March 1984. It was their first hit single in the US and the first single from the Some Great Reward album, People Are People was written by Martin Gore, but the dancy, pop feel of the song may be credited to Alan Wilder. Wilder wrote the B-side, In Your Memory, each song has an extended remix, the Different Mix and the Slik Mix respectively. It was one of the first songs recorded for the album sessions began at the Hansa Mischraum studio in January 1984. The Clive Richardson-directed People Are People video was released in 2 versions, the original video was made for the single version, but an alternate video was made with the Different Mix. The music video featured footage of military scenes from the Cold War. The Different Mix video appears on Some Great Videos and Video Singles Collection, despite the songs success, Martin Gore considers it as one of his least favourite songs. He prefers his songs to have subtle metaphors to allow people to find their own meanings to his songs and it has not been played live since 1988. A compilation album titled People Are People was released in the US, the single itself was released in the USA on 11 July 1984, though it did not reach the Billboard Hot 100 chart until May 1985, and initially was played only on modern rock and college radio. The single would peak at no.13. In the UK, the reached number 4, which was at the time the bands highest singles chart position in their homeland. Since then, Barrel of a Gun and Precious have also reached number 4 in the UK. In West Germany, the song was a no.1 hit and was used as the theme to West German TVs coverage of the 1984 Olympics and it was also used as the theme song of the 1990s BBC Childrens factual TV series, Itll Never Work. In 2011 the song was included on the Rock and Roll Hall of Fames list of the 500 Songs that Shaped Rock and his version, which features Tom Trujillo, was released as a retail single on 26 January 2006 to promote the remix album ReWorked. It peaked at no.10 on the Billboard Hot Dance Club Play chart, christian techno/alternative band Code of Ethics also remade the single in 2008 on their Lost in Egypt disc. German industrial/gothic metal band Atrocity also recorded a version of the song for their 2008 covers album Werk 80 II. Memphis rapper Cities Aviv sampled People are People on the song Die Young from his 2011 album Digital Lows, in February 2012, People Are People was covered by James Whetzel for his Sarod & Beats Covers series. The piece was re-imagined with all acoustic hand percussion taking the place of drum machines, Sarod and violin play the role of the synthesizers in the original tune

39.
A Question of Time
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A Question of Time is Depeche Modes seventeenth UK single, released on 11 August 1986, following the similarly titled A Question of Lust single. The single charts 17 in UK single charts. The 7 remix of A Question of Time runs at a faster tempo. A version of the remix with a faster tempo appeared on The Singles 86-98. There is no new track for a B-Side, but instead includes a remix of Black Celebration, the New Town Remix directly segues into the Live Remix on the limited 12 single. The music video for A Question of Time is the first DM video to be directed by Anton Corbijn, and was the start of a relationship with him and the band which still lasts to this day. It was included on the Strange video, The Videos 86-98, the DVD of The Best of Depeche Mode Volume 1 and on Video Singles Collection. A Question of Time –6,38 Stripped –6,22 Black Celebration –6,05 Something to Do –3,50 A Question of Time –4,04 Live tracks recorded on 10 April 1986 at the Birmingham N. E. C. Gore All live tracks were recorded at the Birmingham N. E. C. on 10 April 1986, the music video features all of the band members holding babies. In the beginning of the video, Alan Wilder is shown on a porch waiting for something. A man dressed almost like a daredevil rides a motorcycle with a baby and he drives to Alan on the porch and hands him the baby. The video shows the members of the band holding a baby. One baby grabs onto Martins hair and yanks it profusely while he smiles, dutch electronic band Clan of Xymox recorded the song on their cover theme album Kindred Spirits Single information from the official Depeche Mode web site Lyrics of this song at MetroLyrics

40.
Never Let Me Down Again
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Never Let Me Down Again is Depeche Modes nineteenth UK single, released on 24 August 1987, and the second single for the then upcoming album Music for the Masses. A relatively moderate hit in the UK at number 22, it was a smash in West Germany, where it hit number 2, the cover art features fragments of a Soviet map of Russia and Europe, with different fragments used for the different editions of the single. Studio impresario Alan Wilder and the members of the band considered the track an obvious single with much potential. They developed it throughout so that dramatic-type elements such as the Led Zeppelin-influenced drum patterns, the coda of Never Let Me Down Again references Soft Cells song Torch. The main remix version of the track, known as the Split Mix, the 12 maxi release stretched to exactly nine and a half minutes long. Oddly enough, despite the results from the point of view of the band. The song became a favourite among fans, especially live, shows during Depeche Modes 1988 tour were often concluded with this song. Notable in the 101 video is when Dave Gahan waves his arms in the air toward the end of the song, and it is now customary at Depeche Mode shows for fans to wave their arms in the air during the coda section of Never Let Me Down Again. The main 12 remix of Never Let Me Down Again is known as the Split Mix, as stated above, in detail, the remix features the regular song, an added intro piece, and a techno-like musical arrangement appended at the end. The arrangement was expanded to the Aggro Mix on the 12 B-side, the Split Mix appears on the album collection Remixes 81–04, a release that came out on October 2004. Another remix of the track, done by the German group Digitalism and that remix appears on the bands remix compilation Remixes 2, 81–11 as well. Eric Prydz also remixed the song for this album, there are two music videos for Never Let Me Down Again, directed by Anton Corbijn. There is also a video with just the single version of the song. The short version appears on The Videos 86>98, the DVD of The Best of Depeche Mode Volume 1, pleasure, Little Treasure is a short dance track. An extended version called the Glitter Mix ends with fragments of recordings that have been reversed and treated with delay effects. Notably, some of these sounds can be heard in the track Mothers Talk from the 1985 Tears for Fears album Songs from the Big Chair, which was engineered by Dave Bascombe. The Glitter Mix showed up as a track on the CD/Cassette versions of Music for the Masses. The rarer b-side is To Have and To Hold, Martin Gores original plan for the song sounded a lot like upbeat electropop, but Alan Wilder turned it into the dark wave track it eventually became

41.
Master and Servant
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Master and Servant is Depeche Modes eleventh UK single and the second single from the Some Great Reward album. Its subject matter is BDSM relationships, which caused some controversy and it reached number 9 in the UK Singles Chart, number 49 in the American dance chart and number 87 on the Billboard Hot 100. Reportedly, the narrowly avoided a radio ban by the BBC as well. The production and mixing process of Master and Servant are remembered by Alan Wilder, Daniel Miller, Some of the sounds on Master and Servant, such as the whip effect, are based on Daniel Miller standing in the studio hissing and spitting. According to the band, they tried to sample a real whip, the Slavery Whip Mix was the longest 12 Depeche Mode song at the time, with the outro being turned into a swing version of the refrain. The Voxless version is a mix of the song. The B-side is Remotivate Me, featuring a 12-inch Release Mix, the 7 version edits out much of the beginning. Some versions include a song called Are People People, which uses samples from People Are People along with chanting. And Master and Servant appear on Remixes 81–04 in 2004 and they are remixed by Adrian Sherwood. –4,29 Remotivate Me –4,12 Track 1 was re-released on the 2- and 3-disc CD versions of Remixes 81–04, Master and Servant –8,02 Remotivate Me –7,59 Are People People. Master and Servant information from the official Depeche Mode web site AllMusic review Lyrics of this song at MetroLyrics

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Just Can't Get Enough (Depeche Mode song)
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Just Cant Get Enough is a song by the English electronic music band Depeche Mode. It was released in September 1981 as the single from their debut album, Speak. It was recorded during the summer of year at Blackwing Studios. A riff-driven synthpop song, Just Cant Get Enough was the single to be written by founding member Vince Clarke. The single version of Just Cant Get Enough is the version that appears on the UK version of Speak. The 12 single featured a Schizo Mix, which is a version with additional synth parts adding a sinister feel to the track. This version appears on the US version of Speak and Spell, the UK re-release of Speak and Spell, in addition, the singles B-side, Any Second Now, was the first commercially available Depeche Mode instrumental. It shows up on the UK rerelease of Speak and Spell, a version including vocals appeared on the album as Any Second Now. There is also a version, the Altered Mix. In the United States, the B-side is Tora, on the album, the song is crossfaded with the previous track, Photographic, but on the single, the introduction is clean. The single reached number 8 on the UK Singles Chart and number 26 on the US Hot Dance Club Play chart and it also became the bands first hit in Australia, reaching number 4. Due to Vince Clarkes songwriting, the song has a bubbly, upbeat feel that stands in contrast to the darker, Just Cant Get Enough was the first Depeche Mode song to get a music video. It is the only Depeche Mode video with Vince Clarke, Tora. –4,17 Notes 1, CD released in 19882, CD released in 1991 All songs written by Vince Clarke except for Tora. Australian alternative rock band Tlot Tlot have covered the song twice, first on their live album The Live Set - Volume 1 in 1993, in 1997, happy hardcore DJ duo Charly Lownoise and Mental Theo covered the song as a single. The music mix being done by the Dust Brothers, on 7 October 1999, The Tonight Show with Jay Leno did a parody of the ad, which featured old men singing the song for a fictional Viagra ad. In 2004, French band Nouvelle Vague adapted the song in a style on the album. Japanese musician Anna Tsuchiya covered the song on her 2007 single Kuroi Namida, in 2008, Mika performed a cover of the song for his Live Parc des Princes Paris concert. In 2011, German rockabilly band Dick Brave & The Backbeats covered the song on the album RocknRoll Therapy, on 14 February 2013 the song was performed on Glee by Kurt and Blaine